Klarinet Archive - Posting 000745.txt from 2003/08

From: "Forest Aten" <forestaten@-----.net>
Subj: Re: [kl] 'Measuring' music (was: Rossi and Patricola vs Buffet)
Date: Wed, 27 Aug 2003 15:30:21 -0400

Ormondtoby Montoya says:

"Again IMO, part of the decision process has to be: "Wow! This feels good to
me! This is IT!"

Exactly why you will be buying your next "better" instrument soon.....

I never said that subjective criteria shouldn't or couldn't or wasn't used?
It's unavoidable.

Take one simple example....

A painter might decide to paint using a brush for his primary tool. There
are many brushes, as there are many clarinets. Each can/will produce a
unique stroke. Each style can be evaluated objectively. While a painter
might be able to afford dozens of brushes...most clarinet players can only
afford one clarinet. If the painter was forced to select one from the dozens
of brushes, on what criteria would his selection be based? This kind of
criteria (whatever criteria selected) would/should be the essential
objective criteria players must establish before selecting a clarinet.

How about just a few minimum objective criteria: use different players,
different locations, different days, different reeds..you name it....it can
all be tracked and measured. It just takes time and effort. It took me three
years of playing clarinets all the time to select my last A clarinet....I
was fortunate and found two great clarinets...one R13 and one Festival. Why
did it take so long? Because I was using my current A clarinet as a
benchmark. It's a very good A clarinet. I try to cycle my clarinets every 5
years and I try to maintain at least two sets of clarinets at any given
time.

Intonation: blind test, raw data
Flexibility: ability to bend pitch of a note without losing quality of sound
(necessary to play "in-tune" in an ensemble
Clarity of sound: panel evaluates each note on the clarinet....the "no fuzz,
no buzz" test
Dynamic range: from soft to loud...add evaluate the ability of the clarinet
to hold the quality of the sound through the dynamic changes.

Players may disagree by degree...but that can be measured too.

Fortunately the clarinet is a versatile tool. We can change small things,
like mouthpiece, reed, barrel...etc. to make remarkable changes in the way
the tool can be used. I select my clarinets based on many factors. I seem to
always end up with Buffet being the most versatile, reliable and easiest to
play. Others may come up with different results. That's fine. They may have
requirements that are completely different than mine. I don't mind at all if
they play a different clarinet.

It's funny that all Buffet clarinets seem to be lumped into a single
clarinet when this discussion comes up. Buffet makes many professional
models. They all play differently...they all have unique qualities. I bet
that many people in this discussion have never played the through the entire
line....or even enough clarinets in a particular model to be objective.

All of the smaller clarinets that I perform on are Buffets. I've played
clarinets from all the major producers. I had sets of Yamahas in my studio
for four years. This as Ted Dolen, the regional sales rep for Yamaha brought
them by for my evaluation. I would create the data they wanted and then they
would send me the next set. I worked with Leblanc America and Elmer Aiello
when they were developing the V40....and I've known and discussed clarinet
with François Kloc for over five years now. It's important to keep a dialog
up with all of these manufacturers. I still prefer Buffet and have not
played a clarinet that I like better.

I perform on a Selmer bass clar (model 37) for my pit work with the Dallas
Opera. I love my particular Selmer bass clarinet. Two years ago...I had the
opportunity to really give three Buffet bass clarinets a work over. They
were all incredible. Better pitch by a long shot than my Selmer and a very
nice sound. I wanted to buy one of these remarkable clarinets right on the
spot...but just didn't have the funds at the time. I would have used the
Selmer for the pit and the Buffet for orchestral stage work and chamber/solo
work. Two clarinets....one to meet the objectives of one venue...the second
to meet the needs of another venue. Both meeting my minimum criteria for
either venue.

Forest Aten

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